kathleend82868475
Explorer
kathleend82868475
Explorer
Activity
Jan 13, 2025
06:36 AM
Okay, I screwed up trying to mark this one as the correct answer, but you get my drift. Thanks for your help.
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Jan 13, 2025
06:33 AM
Yes, all of the values I've given in this discussion are effective ppi at final printed size in the layout. There are currently two dozen images with effective ppi below 225 - I can res them up. Thanks for the advice on that.
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Jan 12, 2025
12:29 PM
Thank you for the PDF - that's helpful info for me. So I gather in all of this that unless a printer REQUIRES 300 effective ppi, I can relax on images over 225. Most of the images in this project meet that standard, but many do not, including the image she plans to use on the cover of the book (174 ppi). Given the distance between us, I won't see the proof when it's printed and will just go with what she decides. But can you tell me: Is there a point at which there's a noticeable difference in quality? The resolutions in this book are all over the map. If a 150 ppi image shares a spread with a 300 ppi image, will that difference be seen?
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Jan 12, 2025
11:09 AM
I was just asked to take over a coffee-table book design project for a client in Guatemala. The original designer sent me the packaged inDesign file a couple days ago, and I find that of the 170+ images (photographs) in the book, the vast majority have effective ppi at significantly less than 300. Most are in the 200 – 285 effective ppi range, but many are less than 200 effective ppi and a few are 91. In my years doing book design, including a couple dozen coffee-table books for artists and photographers, I have stuck to the standard of 300 effective ppi on all images placed in an inDesign file. In the rare case when I haven’t had access to an original image that could meet that standard, I’ve used the PhotoShop Preserve Details resample function to boost an image to 300 effective ppi. However, I’ve never dared to do that with an image that was less than 290 effective ppi to start with, assuming a large boost would make the image look altered. I brought up the resolution issue with the client in question and she’s confident that her printer in Guatemala will not require that the images in her book be 300 dpi (I’ve worked with this printing house before and yes, they do request on their spec sheet that images be 300 dpi, though I don’t know if they require it). Bottom line to me is: if the resulting proofs look good to the client, so what if they’re not 300 dpi. It’s her book and her call. But this experience makes me wonder how rock-solid that 300 dpi/ppi standard is and if I’ve been enforcing it with my clients too strictly all these years. My questions: *Is 300 effective ppi still the best? Has that standard changed while I’ve been buried in my work? Is there leeway in that? *Am I being too cautious with my use of the PhotoShop Preserve Details function? Can I use it for images that need more of a boost – say, taking an image from 200 dpi to 300? *And this is a wild card question: This client has included on her copyright page the statement “No AI has been used in the creation of this book.” (I imagine statements like these will become increasingly common.) But if I use the PhotoShop Preserve Details function on an image, isn’t that a form of AI?
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Jan 29, 2024
07:03 AM
The printer replied that it was the LEVELS setting I should be adjusting, nothing else. 5% looked pretty subtle to me, but the artist was satisfied when she got the new print proof, so all is well now.
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Dec 29, 2023
02:56 PM
Yes, I understand there are values in the fields. However, the image has been altered from the original without me touching it. If I click okay in the panel without changing any of the values it brings up, the image remains in this altered state, with all colors changed from the original. I need to be able to adjust the shadow value on the original, not on this altered version, without any other changes to the image.
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Dec 29, 2023
02:08 PM
3 Upvotes
I'm laying out a print book of paintings for an artist, and a couple of the images printed darker in the proof than their originals. The printing house suggests that I "reduce the shadow gamut by 5%" on anything that prints dark. When I tried to make this adjustment in the Shadows/Highlights adjustment panel, the entire painting changed just by virtue of opening the panel - I hadn't even entered any change in the values in any fields, but all the colors changed when the panel was opened. Is there any way I can get the Shadows/Highlights panel to open without changing the image? Can I get it to show me what the original settings are so I can then make the adjustment the printing house wants? I've attached a screenshot of the original - then a screenshot after I've opened the Shadows/Highlights panel (but not made any changes to the settings). Other question: Is there somewhere else I should be making this gamut reduction besides in the Shadow/Highlights panel? I'm running PhotoShop 2024 on a MacBook Pro, OS 13.6.1 (Ventura).
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Nov 17, 2023
12:47 PM
The printer did a 10-page sample for us of the moire-ish images - no problem in print. It was all onscreen. Thank you all for your help.
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Nov 07, 2023
05:31 PM
Thank you - as soon as the client chooses her printing house, I'll ask the printers to run a proof of the three images. I'm very hesitant to touch them if I don't have to (such as adding a blur, which some have suggested doing) - artists don't like anyone touching their work - so if it's a display issue, that would be the best outcome.
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Nov 07, 2023
03:25 PM
Thank you - I redid this without any scaling this time - see my note below to Rob Day -
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Nov 07, 2023
03:23 PM
Yes, the TIFF uses LZW compression. I don't know if I can get the raw image - all the photos in the book were done by a photographer the artist hired and were done over several years' time as she created the paintings. I'll try other PDF export settings - also will speak with the printer as soon as the artist settles on one she likes.
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Nov 07, 2023
03:05 PM
I've attached the TIFF. The moire doesn't show up in PhotoShop at any resolution. It also doesn't show up at 100% in inDesign, but it does show up if I go down to 75%: inDesign 75% I originally did do some scaling after placing it - in this latest version, I've placed it at 100%, and the resulting PDF has less moire though still some.
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Nov 07, 2023
02:30 PM
Thank you very much for this -
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Nov 06, 2023
02:01 PM
I'm not familiar with simulating raster - the TIFF is already a raster image. "Raster" is greyed out on all menus. ?
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Nov 06, 2023
01:31 PM
The TIFF of the painting came from a photo taken in the studio, so no reproduction of any kind. The texture of the underlyin canvas shows through in some of her paintings, and I wondered if that's what was causing the moire. Was hoping not to alter the image in any way, but it sounds like I better.
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Nov 06, 2023
10:48 AM
3 Upvotes
I'm laying out a book with many TIFFs of paintings - when I export to PDF, a moire pattern shows up in three of them. The moire doesn't show up in inDesign unless I'm at 100% - it's gone at all other resolutions. The moire doesn't show up in PhotoShop unless I'm at 33% - otherwise gone. The moire shows up at all resolutions in the PDF. I'm using PDF/X4:2008 for export. Is there something else I should be doing? Another question: Will the moire show up in print if I do nothing? I'm running inDesign 18.5 and Acrobat Pro 2023, OS Ventura 13.6.1 on a MacBook Pro.
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Oct 25, 2023
03:30 PM
Thank you so much - a trove of information here, and it explains a couple problems I've run into before with color correction. The visuals help a lot.
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Oct 25, 2023
02:13 PM
Yes, all images arrived as RGB, so no problem with CMYK conversions. And I don't plan on doing any color corrections, but that will depend on the client once she sees how the ink lands on the paper. Please clarify the small vs. large gamut display space - are Adobe RGB (1998) and ProPhoto RGB large gamut spaces?
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Oct 24, 2023
04:01 PM
3 Upvotes
I'm designing a book that will include 100 TIFFs of an artist's paintings. I've plowed through all the images to set them to the same dpi for starters, and noticed there's some variety in their color profiles. Most are either Adobe RGB (1998) or ProPhoto RGB (those two in equal measure) - but there are also about a dozen in other profiles: "Display P3", "sd", "Adobe 98", "prophoto". All TIFFs have their color profiles embedded. My inDesign doc is set to Preserve Embedded Profiles. Is there a problem placing images with different profiles into a single inDesign doc? If so, what's the best solution? I'm running Ventura 13.6 on a MacBook Pro - InDesign 18.5 and PhotoShop 25.0.0.
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Sep 12, 2023
03:38 PM
2 Upvotes
The colors on a TIFF I've placed in an inDesign doc changed upon landing. The TIFF is CMYK (this will be a print doc). When I made a JPEG out of the TIFF to see if this would solve the problem, no - the JPEG changed colors as well. I've attached a screenshot of the images side by side - on the left is the original in PhotoShop, on the right is that same image after it's placed in inDesign. I've placed lots of images in lots of docs and have never run into this before. I'm running PhotoShop 22.3.0 and inDesign 17.1 on a MacBook Pro OS Ventura 13.0.1.
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May 19, 2023
09:46 AM
In laying out a book using Rialto Piccolo typeface for text, I chose an alternate for the numeral "1" from the glyphs panel when it appears as the chapter number in the opening chapter (the client does not like the standard numeral "1" in Rialto Piccolo, thus the choice to swap it out). However, when I set up the running headers for subsequent recto pages, using "Chapter number" as the paragraph style for the header, the numeral "1" reverts to Rialto's standard numeral "1" in the header instead of using the style that actually appears on the chapter opening page. (I'll run into this same problem with the page numbers at the bottom of the page.) Is there a way I can force the running header and the page number to honor this alternate numeral I've chosen? I'm running OS Ventura 13.0.1 on a MacBook Pro - inDesign 2022.
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Jan 14, 2022
11:52 AM
Thank you rob day - I'm not able to pull up an Output Preview - I must be running a different version of Acrobat from yours (mine is Acrobat Pro DC v2021.011etc). However, I might have stumbled on the reason for the difference in clarity between the TIFF version and the PSD version of that image - the TIFF that I placed in the inDesign file prior to my export was way over the top in ppi as I had forgotten to resample to something reasonable like 400 or 300. With a resampled version of the TIFF, the new export is every bit as clear as the PSD image. Could a ppi in the range of 1200 have caused the problem? Can the system be overloaded by an overabundance of p's?
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Jan 13, 2022
02:43 PM
I swapped out all JPEGs in one chapter for TIFFs (LZW compression) and did an export with PDF X/4 - then swapped out one of those TIFFs for a native PSD and did another export with PDF X/4. I zoomed in (600%) on the image that appears as a TIFF in one export and a PSD in the other ecport and have put them side by side for comparison in the screenshot below (TIFF on the left, PSD on the right). The TIFF is nowhere near as crisp and clear as the PSD (this was the image that caught my client's attention in the first place). So my question is: Can I do this book placing native PSD files for all images, then export via PDF X/4 and end up with a printable file? I've never used native PSDs before in an inDesign file when generating a printing PDF, just JPEGs and TIFFs.
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Jan 13, 2022
07:00 AM
Got it - thank you -
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Jan 12, 2022
03:16 PM
Thank you - definitely don't want an unhappy fall and what you describe is certainly possible. This probably doesn't qualify as an "art book" - it's a biography that includes many high quality historic photos (and it's laid out in somewhat large format, though not coffee-table size), and those are the ones she's most concerned about. She's also a photographer herself and wanting the best possible. I'll press her for printer info.
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Jan 12, 2022
03:13 PM
Thank you - I've avoided TIFFs on other projects for file size considerations, but they were also not photos of this quality. I've always been careful about JPEGs - save the original untouched, create a TIFF from the original and use the TIFF for making any alterations, then create a new insert JPEG (uniquely named) from the TIFF for insert, figuring that would prevent or at least minimize loss. Is this a safe routine?
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Jan 12, 2022
01:02 PM
Thanks. I've had no contact with the printer - the book is going to be printed in Guatemala under the direction of the author/photographer (who is also in Guatemala), and I think she has not yet settled on a printing house there. I did a test just now, replacing a few JPEGs for PSDs and using the PDF/X-4 export (which is what I use on all other books I do - this is my first fine-art photography venture), and the quality looks great. If I swap out all JPEGs for PSDs, can I leave it that way for the final PDF export? I've never placed native PSDs before, only JPEGs.
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Jan 12, 2022
11:47 AM
I'll add that the images in the inDesign file are all JPEGs generated from TIF originals, all at 400 dpi minimum.
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Jan 12, 2022
11:43 AM
What is the best PDF export setting for a book that includes both text and fine art photography? My client sees "a very slight difference" between her original images and how they appear in a PDF generated with the High Quality Print setting. Is there a better setting I should be using? Press Quality, perhaps? This client has an eagle eye. I'm running inDesign 2021 on a MacBook Pro with OS Big Sur (11.4).
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Oct 12, 2021
03:50 PM
Mil, mil gracias - this solved the problem. I missed the "story" setting for the endnotes.
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