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The post How to Prepare Images For Publication – Part Two appeared first on Digital Photography School. It was authored by Herb Paynter.

In part one of this series, I presented the reasons why images printed in magazines and publications can appear lackluster, dark, and dull rather than detailed and vibrant as when printed on an inkjet printer. In this follow-up article, I address the unique requirements and limitations of printing presses and some ways to produce rich and detailed images in print.

Fine Tuning the Process for Print

Paper surfaces

The depth and detail that a press can reproduce in the darkest (shadow) portions of an image are limited by several print-related factors, with the paper grade (quality) being the biggest factor. Printing papers come in various grades, textures, and shades of white.

White is a relative term, and newspapers are a prime example. Newsprint isn’t actually pure white and the ink printed on it never appears black.

Printing inks

Newspaper inks are nearly in a liquid state as opposed to other forms of print. The tack level (stickiness) of these inks must remain very low since the newsprint paper composition is quite soft. Full-bodied inks printed at high speed would tear the paper apart. Instead of appearing as black ink on white paper, newspapers appear more like charcoal colored ink on light gray paper. This factor alone dismisses the visual contrast in pictures. Newsprint absorbs ink like a paper towel, which is why pictures in the newspaper lack contrast, punch and depth.

Magazine paper surfaces

Publication (magazine) presses fair much better. However, they still have limitations. Paper grades for publications are still lower quality than those of brochures and coffee table books because of the economy of the project. Most publication stocks are made from recycled papers in which many of the whitening agents and glossy coatings used in higher grade papers are absent. This results in less reflective surfaces and varying shades of off-white colors. While the recycled paper is good news for the environment, it’s bad news for print quality.

The challenge

High-speed presses must also reduce the tack level of their inks to keep these papers flowing through the presses. When the tack level goes down, so does the opacity of the inks, and when the tack level of translucent inks is reduced, the contrast in the images (and image detail) is also reduced. You can see where this is headed…

The creative solution

Thus the challenge is to maintain as much apparent contrast in each image as possible under less than ideal circumstances. Here is where the creative magic of contrast “compensation” enters the picture. Prior to the era of digital editing, this creative level of tonal manipulation was simply out of reach. While adjusting the overall contrast (white, middle, and black points) of printed images has always been possible, serious contour shaping was not. But within current digital image editing software, the entire internal range of tones can be tuned and cajoled with great precision. Success simply takes a clear understanding of the limitations and a good knowledge of the tools in the digital tool chest.

The Sun backlit the subjects in this photo causing the darker areas to hide significant detail. If sent to press without compensating adjustments, the printed results would have looked even darker and important detail would have been lost.

Pictured here are the settings that produced the civil war reenactment photo above. Information contained in the middle tones and shadow tones was recovered by powerful tonal adjustments available in each of the four software applications. Very similar settings produced very similar results. The panels (from left to right) include Adobe Camera Raw, Adobe Lightroom, On1 Photo RAW, and Alien Skin X4.5. Camera Raw and Lightroom produced identical results from identical settings for obvious reasons, while the development engineers from On1 and Alien Skin used unique routines and algorithms in their software to affect very similar results.

The secret to success in adjusting the internal contrast of an image is in developing a distinct visual difference between the whites and highlights and the shadows and black tones. This is best addressed within the six major tonal sliders provided by most RAW editing software (Lightroom, Camera Raw, On1 Photo RAW and Alien Skin’s Xposure X4.5) best address this.

Don’t let the term RAW scare you away. These editors can open and process just about all image file types (RAW, JPEG, TIFF, etc.). Each of these packages provides very similar tonal area adjustments (Exposure, Contrast, Highlights, Shadows, Whites, and Blacks) though each maintains a slightly different range for each. Additional controls to fine tune the tonal values include the Tone Curve adjustments of Highlights, Lights, Darks, and Shadows.

The beauty of all these controls is the fact that they are nonlinear, meaning they can be adjusted in any order and at any time during (and during follow-up) editing sessions. Using these editing packages, truly non-non-destructive image editing can be made to RAW, TIFF and JPEG image files.

Backlighting and a black cat provided a serious challenge in this image. These adjustments were needed even if the picture was not going to press.

Three aspects of tonal controls

Familiarize yourself with these three general aspects of tonal controls to prepare your photos specifically for the printing press.

One

Since camera image sensors capture very little shadow detail, digital images require significant internal contrast adjustments to the lower portion of the tonal scale.

Shadow tones of each image are the most challenging areas to print cleanly on press. Therefore, you must create a sharp distinction between the darkest darks (Black slider) and the three-quarter tones (Shadow slider).

Use the Exposure slider in conjunction with the Blacks slider to bring out all the detail in the darkest portion of the image. Reference the histogram to gauge the actual pixels that will print darkest.

Two

Lighten the middle tones and accent the difference between the quarter tones and the highlights.

Use the Curves tool to affect the middle tones while adjusting the Shadows slider and Highlight Slider to define the middle tones further.

Three

Reference the histogram again to monitor the lightest tones (White slider). White is a misnomer in the labeling of this slider as its influence is on the extreme highlight tones. Draw a distinction between the light tones and absolute white by using the Highlights slider and the White slider.

The Exposure slider and the Contrast slider play an important part in this tonal ballet. Choreograph these controls to achieve the best balance of internal tones and check your progress by occasionally tapping the “P” key to preview the composite effects of all your adjustments against the original image.

Seemingly lost detail in the darker areas was completely recovered by some severe adjustments to individual tonal areas throughout the tonal range. The image was recovered with only the use of the sliders shown. No further editing (dodging, burning, etc.) was required.

This article is hardly an exhaustive explanation of how to prepare images for publication inasmuch as it does not address the critical issues of color, sharpening, resolution, etc. But it will get you started on the most critical issues of tone sculpturing images for reproduction. In every example shown, ONLY global adjustments to the seven sliders was required to bring full life back into lackluster photos. The most critical aspect of post-production involves an image’s internal tonality.

Shape each image’s internal contrast specifically for the press and paper being printed. If you don’t, the printed image will probably hide shadow detail, lose their “snap” in the highlights, and produce muddy middle tones. Slight but deliberate accenting of the tone curve will produce significantly better images in print.

Working on images in these RAW Interpreter software applications provides amazing latitude in recovering both shadow and highlight detail. This example shows how On1 Photo RAW found significant detail in what appeared to be blown out highlights of a JPEG image.

Chasing light

At the core of the issue is light.

Everything about photography concerns light, and that includes viewing photos in print.

The reason images appear more vibrant and colorful on a monitor is because the background “white” is projected light, not paper. Images printed on paper will ALWAYS appear less vibrant. Paper is only as white as the light reflecting from it. The darker the paper and the dimmer the reflecting light, the less bright the picture appears. Images in print will never look as good as images on your monitor simply because reflected light cannot compete with projected light.

Conclusion

Preparing images to print correctly is a serious challenge, but one that delivers an amazing result. If you want to test your image editing skills, it doesn’t get more challenging than this. The reward for all your print-editing efforts will last a whole lot longer than a post on the Internet and will be seen by thousands (if not millions) more than a print hanging in a gallery. People collect well-produced publications and display them for others to see.

Virtually all images deserve thoughtful preparation before presentation. The camera can’t evaluate tonality balance by human standards. Learning the reproduction habits and limitations of different devices and understanding how to best compensate for each will pay serious visual dividends.

Of course, the final challenge in preparing images for publication is converting the color mode from RGB to CMYK. Check with your publication about this matter before you arbitrarily choose CMYK from the Image/Mode menu. There are a number of workflows that publications use to produce their final files for the printer. I suggest you leave the color conversion decision up to the magazine’s production staff. The conversion process is a complex issue that deserves much more attention than I’m addressing in this series.

Please feel free to comment and question what you’ve just read. Life is a collaborative effort, and we’re all learning.

The post How to Prepare Images For Publication – Part Two appeared first on Digital Photography School. It was authored by Herb Paynter.

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The post How to Prepare Images For Publication – Part One appeared first on Digital Photography School. It was authored by Herb Paynter.

It is a known fact that images viewed on computer monitors don’t always match what comes out of inkjet printers. This is because the color pixels captured by digital cameras are defined quite differently than the pixels portrayed on the computer monitor and the monitor’s pixels differ quite significantly from the ink patterns that are literally sprayed onto the paper.

But even though both inkjet printers and printing presses both use CMYK inks, the images printed on inkjet printers usually don’t produce the same appearance when printed in publications. This is quite true, but why?

Color images are displayed differently on each device because the technologies for each medium use different processes; monitors (left), inkjet (middle), and halftones (right).

The answer to this mystery eludes many of today’s magazine publishers and even many publication printers. This is a problem that the digital imaging community (photographers, image editors, and pre-press operators) have struggled with for decades. Color Management Professionals (CMPs) undergo rigorous color science studies to understand how to maintain the same look in color images that are reproduced on different substrates and a variety of printing processes. Since you may want to produce your images in print, we’ll look at a synopsis of what the challenges are and some surefire ways to produce the results you’re looking for.

First and foremost, cameras and monitors capture and project color images as RGB light but all ink-based printers must convert these RGB colors into CMYK colors behind the scene! Even though you send RGB files to your inkjet printer, the printer doesn’t rely on RGB inks to produce all the colors in the prints. RGB colors are for projecting colors while CMYK colors are used to print colors.

Projected colors are always viewed in RGB while printed colors are always produced from some formulation of CMYK inks. That’s simply how color science works. Printers don’t print the RGB colors directly. While you send RGB images to your inkjet printer, it converts those colors into some form of CMYK during the printing process. Even when you send an RGB file to your eight-color printer, the base CMYK colors are augmented by slight amounts of Photo Cyan, Photo Magenta, Red, and Green colors. However, there has been one printer (the Oce´ LightJet) that produced color prints from RGB, but it didn’t use printing inks… it was a photographic printer that exposed photographic paper and film using RGB light. This printer is no longer manufactured.

Each printing process utilizes a unique pattern to express the variable tones between solid and white.

Viva le difference

The inkjet printing process is completely different from the print reproduction process. As a matter of fact, the two systems are overtly dissimilar. If your images are headed for print and you are not sure of which printing process will be utilized, you might be headed for trouble. Here’s why.

The possible surfaces for inkjet printing vary wildly and include everything from paper to wood, from metal to fabric, and on virtually every surface and texture in-between. To accommodate this range of printing applications, inkjet “inks” are liquid rather than solid, so they can be applied to varied surfaces and substrates.

Dots versus spots. The peanut butter consistency of press inks and the well-defined shapes of the halftone dots used by the printing industry differ significantly from the liquid inks and less defined “micro-dot” dithering used by the inkjet printing process.

The color spots produced by inkjet printing systems may include more than a dozen colors and are liquid to accommodate almost any surface. Printing press dots are well-defined symmetrical shapes and are much thicker consistency to accommodate the high-speed transfer to paper. Both inks are translucent because they must blend to create other colors.

The extremely small inkjet droplets appear more like a mist than a defined pattern; each pixel value (0-255) creating a metered amount of microscopic spots so small that the human eye perceives them as continuous tones. Due to the smoothness of the tones and graduations of color, inkjet images require a bit of sharpening to deliver detail (detail remember is a product of contrast, and contrast is not a natural inkjet strength).

Dot structure of halftone images (left) and color dither pattern (right).

Both the inkjet and publication systems convert the RGB (red, green, and blue) values of each pixel into equivalent CMYK (cyan, magenta, yellow, and black) values before printing those colors onto paper. However, after the color conversion, the two processes take decidedly different paths to deliver ink on paper.

While printing presses use grid-based, well-defined dots that are impressed into paper surfaces, inkjet printers utilize micro-dot patterns sprayed onto surfaces. The same image may appear in several different forms during the reproduction process. Original image (far left), digital pixel (near left), printed halftone (near right) and Inkjet dither (far right)

Publications use the geometric structure of halftone dots to interpret pixel values as tonal values on paper surfaces. Each pixel produces up to four overprinted color halftone dots. These halftones dots translate darker values of each color into large dots and lighter values into smaller dots. The full range of darkest-to-lightest tones produce dots that vary in size depending on the press and paper being printed.

To avoid the visually annoying conflict that occurs when geometric grids collide (called a moire pattern), each CMYK grid pattern is set on a very carefully calculated angle. The positive advantage that inkjet images have over halftone images is that the image resolution required for inkjet prints is significantly less than the resolution required by the halftone process employed by publication images.

However, the most important issues to address with print have to do with color fidelity and tonal reproduction. The difference in the way inkjet images and publication images are prepared makes a huge difference in the way the images appear when they come out the delivery end of the process.

Inkjet printers are like ballet dancers while printing presses are more like Sumo wrestlers; not unlike chamber music versus thunder roll. One is quiet, graceful and articulate, the other noisy, violent and powerful.

The biggest difference between the two processes can be seen in the highlight and shadow areas. Inkjet inks are sprayed onto substrates through a very controlled matrix of 720-1440 spots per inch using a slow and measured inches-per-minute process. Publication presses smash ink into the paper under extreme pressure, at speeds measured in images-per-minute, translating the entire tonal range into a limited geometric matrix of just 150 variable-size dots per inch. Publication presses are huge, high-speed, rotary rubber stamps.

Inkjet printers carefully step the paper through the machine in an extremely precise manner while the printing press shows no such restraint. Presses display an amazing ability to control the placement and transfer of images in spite of the blazing speed of the process.

You might be able to dress a Hippopotamus in a tutu, but you can’t expect it to pirouette. There are simply physical limitations. At production speeds, the shadow details suffer, delicate highlights tend to drop-off rather abruptly, and the middle tones print darker. The printing industry is aware of this dot gain issues and compensates for them with G7 process controls and compensation plate curves, but the beast remains a beast.

There’s a pretty good chance that both color and tonal detail will be unwittingly lost in the printing process if nominally prepared images are sent to press. Having spent many years of my career in both photo labs and the pressroom, I can assure you that detail in both the lightest portions and darkest areas (and placement of the middle tones) will need special attention to transfer all the detail on the press. Highlights get flattened, and shadows get closed more easily because of the high speeds and extreme pressures involved.

This means that images destined for print must exhibit more internal contrast in the quarter tones (between middle tones and highlights) and three-quarter tones (between middle tones and shadows as well as a slight adjustment to the middle tones to reproduce at their best. I’m sure I will hear some disagreement about this from some publishers, but as a former pressman, I know that images that do not get some special attention usually print somewhat flat.

The image on the left might look good as a print, but it would reproduce poorly on a press. The shadow areas would get even darker and lose all detail. The image on the right will darken slightly in the lower tones producing an excellent result in print. White balance is also critical in publication printing. Compensating for the unavoidable effects of the press always pays off.

There is a cardinal rule in printed publications that states that even areas of the whitest whites and darkest darks must contain dots. The only “paper white” should be specular (light reflecting from glass or chrome) and even pure black doesn’t print solid black; everything contains dots. Unlike inkjet printers, printing presses cannot hold (or print) dots smaller than 2-3% value (247). Dots smaller than this never make it onto the paper. This is why additional internal contrast is needed on both ends of the tonal range.

Photographers certainly know their way around cameras and software (Lightroom or Photoshop), and they understand color and tonality as it relates to mechanical prints. They are also accustomed to references to RGB (red, green, and blue) colors and may even understand how inkjet printers work, but very few are familiar with the behavior and limitations of huge printing presses. The analogy of ballet dancers versus Sumo wrestlers is an accurate one.

Photographers understand fine art prints and image editing software though few see their photos through the eyes of pressmen. But perhaps they should!

There is a significant difference between preparing photos for inkjet printers and preparing images for publication presses. The publication RGB-vs-CMYK conversion thing differs significantly from inkjet conversion in color gamut, image saturation, and tonal reproduction.

When an image is captured, it can potentially possess more than 4000 tones per (RGB) color. That’s a whole bunch of possible colors. But the sobering factor is that all printing processes reduce those possible 4000 tones down to a mere 256 tones per RGB color before any ink hits the paper. Obviously, the post-processing tone and color shaping of camera images are super-critical! Simply put, how the photographer shapes all that data before it is ready for print determines how much detail and clarity will get printed on the pages of the magazine.

Once again, the top picture would print great on an inkjet printer but would lose very critical detail on a press. Compensation for the unavoidable effects of the press is always advised. In Part 2 of this series, I’ll show you exactly what adjustments were made to this photo. Additional sharpening also helps compensate for the slight blurriness of the halftone process.

The old adage “start with the end in mind” comes clearly into focus here. No matter how much data is captured by the digital camera, the publication press is the ultimate arbiter of tones and colors, and deserves the loudest voice in the conversation. The color gamut of CMYK conversion is even more restricted than the basic sRGB gamut of Internet images, making this post-processing exercise perhaps the most precarious scenario of them all. If you ignore the special attention needed for magazine images, don’t expect the images to pop off the page. Ignore the press’s advice, and you’ll pay the price in both detail and color reproduction.

In the follow-up article entitled “Preparing Images for Publication Part 2,” I’ll reveal the literal “trade secrets” for producing great publication images.

The post How to Prepare Images For Publication – Part One appeared first on Digital Photography School. It was authored by Herb Paynter.

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