Adobe Photoshop CS4 for Photographers phần 10 pot

613 Print output Chapter 13 Photokit Sharpener A demo version of Photokit Sharpener is available on the DVD and there is also a special discount coupon available at the back of this book which entitles you to a 10% discount. Photokit Sharpener provides Photoshop sharpening routines for capture sharpening, creative sharpening and output sharpening (inkjet, continuous tone, halftone and multimedia/Web). The Camera Raw sharpening sliders are based on the Photokit Sharpener methods of capture sharpening, so if you have the latest version of Photoshop or Lightroom, you won’t need Photokit Sharpener for the capture sharpening. If you have Lightroom 2, you will fi nd that the output sharpening for inkjet printing is actually built-in to the Lightroom print module. Therefore, if you don’t have Lightroom 2, you’ll defi nitely fi nd the Photokit Sharpener output sharpening routines useful for applying the exact amount of output sharpening that is necessary for different types of print outputs and at different pixel resolutions. Try out the demo to see how the print output compares to using no sharpening or other print sharpening methods. Judge the print, not the monitor It is diffi cult, if not impossible, to judge how much you should sharpen an image for print output by looking at the monitor. Even if you reduce the viewing size to 50% or 25%, what you see on the screen will bear no resemblance to the fi nal print output. The ideal print output sharpening can be calculated on the basis that at a normal viewing distance, the human eye resolves detail to around 1/100th of an inch. So if the image you are editing is going to be printed from a fi le with a resolution of 300 pixels per inch, the edges in the image will need a 3 pixel Radius if they are to register as sharp in print. When an image is viewed on a monitor at 100%, this kind of sharpening will look too sharp and quite ugly (because you are viewing the image much closer up than it will actually be seen in print), but the actual physical print should appear nice and sharp. So, based on the above formula, images printed at lower resolutions will require a smaller pixel radius sharpening and those printed at higher resolutions will require a higher pixel radius sharpening. Now, different print processes and media types will require slight modifi cations to the above rule, but essentially, output sharpening can be distilled down to a set formula for each print process/resolution/media type. This was the basis for the research carried out by Bruce Fraser and Jeff Schewe when they devised the sharpening routines used for Photokit Sharpener (see sidebar). High Pass fi lter edge sharpening technique The technique described on pages 614–615 shows an example of just one of the formulas used in the Photokit Sharpener product for output sharpening. In this case I have shown Bruce Fraser’s formula for sharpening a typical 300 pixel per inch glossy inkjet print output, so make sure you have resized the image to the exact print output dimensions and at a resolution of 300 pixels per inch beforehand. You will notice that it mainly uses the High Pass fi lter combined with the Unsharp Mask fi lter to apply the sharpening effect. Martin Evening Adobe Photoshop CS4 for Photographers 614 1 The sharpening method described here is designed for sharpening an inkjet print on glossy paper at 300 ppi. To begin with, make a duplicate copy of the Background layer and set the layer opacity to 66%, then double-click on the duplicate layer to open the Layer Style options and get the Blend If sliders to match the settings shown here. 2 Next, apply the Unsharp Mask fi lter to the layer using an Amount of 320, Radius of 0.6 and Threshold of 4. Then choose Edit ➯ Fade, change the blend mode to ‘Luminosity’ and reduce the opacity to 70%. 1 T h e g loss a nd s La y e r 615 Print output Chapter 13 3 Now change the Layer blend mode from ‘Normal’ to ‘Overlay’, go to the Filter menu and choose Other ➯ High Pass fi lter. Apply a Radius of 2 pixels. Note that the sharpening layer can be increased or decreased in opacity or easily removed so that the underlying Background layer remains unaffected by the sharpening steps. 4 Here is a close-up 1:1 view of the sharpened image. Remember, you can’t judge the sharpening by looking at the monitor, but you should be able to judge the effectiveness of the technique by how sharp the photograph appears here in print. Martin Evening Adobe Photoshop CS4 for Photographers 616 Soft proof before printing Color management can do a fairly good job of translating the colors from one space to another but, for all the precision of measured targets and profi le conversions, it is still essentially a dumb process. When it comes to printing, color management can usually get you close, but it won’t be able to interpret every single color or make aesthetic judgements about which colors are important and which are not, plus some colors you see on the screen simply can’t be reproduced in print. This is where soft proofi ng can help. If you use the Custom Proof Condition dialog as described here, you can simulate pretty accurately on screen how the print will look when printed. Soft proofi ng shows you which colors are going to be clipped and also allows you to see in advance the difference between selecting a ‘Perceptual’ or ‘Relative Colorimetric’ rendering intent. All you have to do is to select the correct profi le for the printer/ paper combination that you are about to use, choose a rendering intent and make sure ‘Black Point Compensation’ plus the ‘Simulate Paper Color’ (and by default simulate black ink) are checked. 1 To begin with I opened the image shown here, went to the Image menu and chose ‘Duplicate ’ to create a duplicate copy image, which is shown here on the left next to the original on the right. In this screen shot you can see a slight difference between the color of the sky. This is because I had applied the Customize Proof Condition shown in Step 2 to the original master image. Gamut warning The View menu contains a ‘Gamut Warning’ option that can be used to highlight colors that are out of gamut. The thing is, you never know if a highlighted color is just a little or a lot out of gamut. Gamut warning is therefore a fairly blunt instrument to work with, which is why I suggest you use the soft proofi ng method described here. Print from the proof settings The Customize Proof condition is also important because when it is active and used to preview an image, the Photoshop Print dialog can be made to reference the soft proofed view as the source space. This means that you can use Customize Proof Condition to select a CMYK output space and the Photoshop print dialog will allow you to make a simulated print using this proof space. OriOri Ori Ori gin gin gin gin al al al al masmas mas mas terter ter ter upDup up up lic lic lic lic ate ate a ate im im im age age age D 617 Print output Chapter 13 3 I now had a soft proof prediction of how the master fi le would print that could be viewed alongside a duplicate of the original image. The goal now was to add a Curves adjustment layer to tweak the tones (using the Luminosity blend mode) and a Hue/ Saturation adjustment to tweak the colors (using the Color blend mode). A few minor adjustments were enough to get the soft proofed master to match closer to the original. 2 To soft proof the master image I went to the View menu and chose Proof Setup ➯ Custom . Here I selected a profi le of the printer/paper combination that I wished to simulate, using (in this case) the Relative Colorimetric rendering intent and with the ‘Simulate Paper Color’ option checked in the on-screen display options. Ori Ori Ori Ori Or Ori Ori gin i gin gin gin gingin al l al al al al al masmasmas m mas ma m ter ter terter er ter Dup Dup Dup D lic lic lic lic ate ate ate ate im im im age a age a e would print that could be D Martin Evening Adobe Photoshop CS4 for Photographers 618 Saving print presets To help minimize print setup errors, it is often worth creating print presets. Apply all your page setup and print settings fi rst, then pull down the Print Presets menu (see page 627), choose ‘Save As…’ from the bottom, and name it appropriately. Making a print The print menu items in Photoshop can be accessed via the File menu and are all fairly straightforward. We have a Page Setup menu (CSp LSp) for setting up the printer and paper settings and a Photoshop application Print menu item (Cp Lp) that takes you directly to the Photoshop Print dialog. The Print One Copy command (COSp LASp) is there should you wish to mak e a print using the current confi guration for a particular image, but wish to bypass the print dialogs – but do heed later warnings about print settings not always being sticky! Use this with caution. 4 In this fi nal version, you see the corrected, soft proofed master image. When this corrected version is sent to the printer, the print output should match very closely to what is seen here on the screen. I recommend the correction adjustment layers be preserved by grouping them into a layer group. Turn the visibility off before saving and only switch it back on again when you need to make further prints. M 4 I n t h c orre c w hat i s prese r a nd o n 619 Print output Chapter 13 Page Setup Let’s start with the Page Setup. The fi rst thing you need to do is go to the Page Setup dialog (see Figures 13.1 and 13.2) and make sure the right printer is selected (you may have to do this each time in Mac OS X). Choose a paper size that matches the paper you are about to print with and select the right orientation: either portrait or landscape. Figure 13.2 If you are using Macintosh OS X, go to the File menu and choose Page Setup . Where it says ‘Format For’ select the printer you want to print to and then select the paper size and print orientation: Portrait or Landscape. Figure 13.1 If you are using a PC computer, go to the File menu and choose Page Setup . In the main Page Setup dialog you will want to click on the Printer button to select which printer model you want to print to. Click ‘OK’ and this will return you to the Page Setup dialog again where you can select the paper size, print feed method and print orientation: Portrait or Landscape. Scale setting in Page Setup Although the Mac OS X Page Setup dialog allows you to adjust the print scale size, I don’t advise you to do this – either here or in the Photoshop Print dialog – unless you absolutely must. It is always much better to resize the image in Photoshop fi rst and print using a 100% scale size. Martin Evening Adobe Photoshop CS4 for Photographers 620 Ensuring your prints are centered We would all love Photoshop printing to be simpler, but unfortunately there are no easy solutions and this is not necessarily all Adobe’s fault either. The problem is that you have a multitude of different printer devices out there and, in addition to this, you have two main types of operating systems, each of which has their own protocols as to how the system print dialogs should be organized. Making sure a print is centered is just one of several problems that require a little user intervention. If you center a print in the Photoshop Print dialog, but it does not print centered, this is probably due to the default margin settings being uneven. The reason for this is that some printers require a trailing edge margin that is wider than all the other margins. But as I have shown below in Figure 13.3, you can overcome this by creating your own custom paper sizes and margin settings. Figure 13.3 On Mac OS X, go to the Page Setup menu and choose ‘Manage Custom Sizes ’ from the Paper Size menu. In the Custom Page Sizes dialog check the margin width for the bottom trailing edge margin for the selected printer. If you want your prints to always be centered, all you have to do is to adjust the Top margin width so that it matches this bottom measurement. Set a Width and Height for the new paper size and save this as a new paper size setting and add ‘centered’ so you can easily locate it when using the Page Setup dialog. 621 Print output Chapter 13 Photoshop Print dialog When you choose ‘Print ’ from the File menu, Photoshop takes you to what I prefer to describe as the Photoshop Print dialog (Figure 13.6), as opposed to the System Print dialog. This dialog was once known as ‘Print with Preview’ and since CS3 it has undergone a major overhaul to provide better settings control and a larger color managed print preview. We shall start by looking at the Output settings. Output settings To adjust the Output settings, make sure that ‘Output’ is selected from the top menu. The Printer model you selected in Page Setup should be visible in the Printer menu and below that you will see a Page Setup button. You could, if you like, bypass going to Page Setup and access everything via this Photoshop Print dialog. Although, if you are using a PC, the Page Setup button takes you directly to the System Print dialog. This is because you have already chosen a printer model and the paper size, and orientation controls will also be available in the System Print dialogs. Oh boy, see my comments on the previous page about the operating systems forcing the print pipelines to be so different and confusing. When the Center Image box is deselected and the Show Bounding box is enabled, you can position an image anywhere you like, by dragging inside the preview area. Or, you can position the image by entering in measurements for the Top and Left margins. In the Scaled Print Size section, if the image overfl ows the currently selected page size, you can choose ‘Scale to Fit Media’, which automatically resizes the pixel resolution to fi t the page (the Print resolution PPI will adjust). You can also enter a specifi c Scale percentage, or Height and Width for the image, but as I pointed out on page 619, it is not really a good idea to resize the image via the Print dialog if you can help it. On the right, you can select any extra items you wish to see printed outside the image area. The Calibration Bars will print an 11-step grayscale wedge on the left and a smooth gray ramp on the right. If you are printing CMYK Output options To apply some of the Output options mentioned here, you must be using a PostScript print driver and you should also allow enough border space surrounding the print area to print these extra items. For example, when the ‘Include Vector Data’ option is unchecked, it will rasterize the vector layer information, such as type at the image fi le resolution. However, if it is checked, it will rasterize the vector information such as type much crisper at the full printer resolution, provided that you are outputting from a PostScript RIP. Freeform placement on the page When the bounding box is made visible, you can drag the box and box handles to visually arrange the page position and scale. If a selection is active before you select Print Options, and Print Selected Area is checked, the selected area only will be printed. 16-bit printing Image data is normally sent to the printer in 8-bit, but some more recent inkjet printers such as the Canon ipf5000 are now enabled for 16-bit printing (providing you are using the correct plug-in and the 16-Bit Output box is checked). There are certain types of images that theoretically may benefi t from 16-bit printing and where it can avoid the possibility of banding appearing in print, but I have yet to see this demonstrated. Let’s just say, if your printer is enabled for 16-bit printing, Photoshop now allows you to send the data in 16-bit. Martin Evening Adobe Photoshop CS4 for Photographers 622 Figure 13.5 The Border option will allow you to add a black border and choose the size. Figure 13.4 The Bleed option will work in conjunction with the ‘Corner Crop Marks’ option and determine how far to position the crop marks from the edge of the printed image. Figure 13.6 The Photoshop Print dialog, showing the Output settings mode options. separations, tint bars can also be printed for each plate color and the Registration Marks will help a printer align the separate plates. The Corner and Center Crop Marks indicate where to trim the image and the Bleed button (Figure 13.4) determines how much the crop marks are indented. Checking the Description box prints any text that was entered in the File ➯ File Info box Description fi eld and check the Labels box to have the fi le name printed below the picture. Click on the Background button to print with a background color other than paper white. For example, when sending the output to a fi lm writer, you would choose black as the background color. Click on the Border button (Figure 13.5) to set the width for a black border. But be aware that the border width can be unpredictable. If you set too narrow a width, the border may print unevenly on one or more sides of the image. Open Print utility Send data in 16-bit mode Background Border and Bleed options Output settings mode Printing marks options Select printerOpen Page Setup Print size units Scaled print size options B B [...]... the potential to reduce the TIFF file size even further 637 Martin Evening Adobe Photoshop CS4 for Photographers GIF compression You will find that when designing graphic images to be converted to a GIF, those with horizontal detail compress better than those with vertical detail This is due to the GIF format using Run Length Encoding (RLE) compression Figure 14.7 The GIF file format is mostly used for. .. images dramatically smaller compared to using File ➯ Save As to save as a JPEG Figure 14.11 The ‘Save for Web & Devices’ save options 641 Martin Evening Adobe Photoshop CS4 for Photographers Web palette colors The Web palette contains the 216 colors common to both platforms and is therefore a good choice for web publishing if viewers are limited to looking at the image on an 8-bit color monitor display... (this is an option in the Save for Web & Devices dialog, see page 639) 635 Martin Evening Adobe Photoshop CS4 for Photographers Choosing the right compression type JPEG compression offers the most effective way to reduce file size, but this is achieved at the expense of throwing away some of the image data (as was demonstrated in Figure 14.2) JPEG is therefore known as a lossy format, so you need to be careful... is unsuitable anyway for saving most kinds of images 636 Chapter 14 Output for the Web TIFF compression for FTP transfer I mention the TIFF format again here because it is the standard file format used for transferring files used for prepress work If you save a layered image as a TIFF using no image compression with Run Length Encoding (RLE) layer compression, the uncompressed TIFF format doggedly records... your work online 629 Martin Evening Adobe Photoshop CS4 for Photographers Sending multiple images by email Email programs can accept single or multiple attachments of any format, but not as a folder, unless it has been compressed as an archive first Aladdin™ Software make the ubiquitous Stuffit™ program which is great for compressing files in his way It’s available for Mac or Windows and handles ZIP compression... sent to recipients The service is free for single file transfers up to 100 MB 631 Martin Evening Adobe Photoshop CS4 for Photographers Download a sample image file I have uploaded a photograph to my server which you can access by typing in the following URL address in your web browser: www.martinevening.com/portraits/ evening.pdf This image document was saved as a Photoshop PDF file You will probably be... in your System profiles folder at the same time as you install the print driver for your printer If you can’t find these, try doing a reinstall, or do a search on the manufacturer’s website Figure 13.7 This shows a close-up view of the Color Management Photoshop Print dialog options 623 Martin Evening Adobe Photoshop CS4 for Photographers Color Management mode Print using document space Print using Proof... using the same printer and paper combination It is also the only way for the settings to remain ‘sticky’ when you wish to access them again 627 Martin Evening Adobe Photoshop CS4 for Photographers Figure 13.9 Here is an example of an X-Rite color target that can be used to build an ICC color profile The target file must be opened in Photoshop without any color conversion and sent directly to the printer... Evening Adobe Photoshop CS4 for Photographers Zoomify™ Export The ‘Zoomify™ Export’ option in the File menu allows you to create an output folder containing all the necessary components to produce zoomable image web pages (Figure 14.14) Visitors will be able to view the pages created with the Zoomify export plug-in so long as they have an up-todate Flash plug-in for their browser Zoomify pages are ideal for. .. Photoshop Edit menu 645 Martin Evening Adobe Photoshop CS4 for Photographers Sourcing ready-made actions When you first install Photoshop you will find some actions already loaded in the Default Actions Set and you can load more by going to the Actions panel fly-out menu and clicking on one of the action sets in the list (see Figure 15.1) There are also many more Photoshop actions that are freely available . print. Martin Evening Adobe Photoshop CS4 for Photographers 616 Soft proof before printing Color management can do a fairly good job of translating the colors from one space to another but, for all the. Photoshop Print dialog – unless you absolutely must. It is always much better to resize the image in Photoshop fi rst and print using a 100 % scale size. Martin Evening Adobe Photoshop CS4 for. just say, if your printer is enabled for 16-bit printing, Photoshop now allows you to send the data in 16-bit. Martin Evening Adobe Photoshop CS4 for Photographers 622 Figure 13.5 The Border