just1book – trade partners (B2B)

[sales-just1book]

It have been 6 months since operating our showroom at DhobyX to serve the general retail consumer market (B2C), we’ve done well. Driven by demanding consumer, we are constantly pushing for more improvements. We've printed some very beautiful books over the last few months, lots of weddings, travels, babies, etc, We also have great feedback from happy customers on online forums liked CS, blogs, etc, It is a great pleasure to meet, get to know and work with some of the best in the market. The greatest achievement was to have friendship evolving from the business relationships.

As in any new technology, new trend, educating and training are part of the marketing effort. We would like to start this thread for B2B talks, technical, strategy, etc,. No mentioning of prices or names. Consumer looking at this thread would also benefit in the technical tips and advices. It is also with the spirit of sharing and to develop new business for our digital printing business.

The competitions are heating up for the Designers and Photographers. It can be seen as healthy, be it quality, price or service. We would like to help identify new business opportunities and work on them with you.

Short run books or just one book for:

a) Family

b) Business portfolio

c) Business proposal

d) Architecture and Construction project

e) Gift ideas, etc

You can utilize our showroom for meet-up, drop-offs and pick-ups, we will extend this support for trade partners. We believed there are rooms for improvements, although the feedbacks have been very positive so far on print quality and service. We need to be more competitive on pricing to support our trade partners. For B2B, there’s no excuse, just have to ensure the quality for our trade partners. We’ve an unwritten policy of money back and satisfaction guaranteed.

There are other biz opportunities such as menus, brochures, family-tree books, and limited-editions publishing for fine art artists, some of which are already being done using this short-run offset-quality digital press capabilities. We would like to hear more from you.

[Winsonapm]

I’ll start the ball rolling on these B2B issues, I’ll support it from now on all technical and productions related to prints or printing, maybe on sales, marketing and business strategies too.

Winson Lan


What to Look Out for in Print Production?
Print production is a tricky business from file creation and final artwork to color separation, pre-press, actual printing and finishing. This section aims to clarify doubts and reduce errors in this complicated process by providing a clear understanding of print requirements and highlighting common mistakes in print production.


I. Preparing a digital file for printing
Oftentimes, the printer does not receive a perfect digital file in a suitable format for printing, resulting in delays and frustration all round as printer and designer grapple with the file requirements.

Top 10 Digital File Problems
1. Missing Fonts............................................. ......20.2%
2. Incorrect Trapping.......................................... ..11.5%
3. Incorrectly Specified Colours (RGB/Spot vs. CMYK)..10.9%
4. Scans Made in Wrong Mode.................................7.8%
5. Page Settings Not Properly Specified.....................7.4%
6. Graphics Not Linked.......................................... 5.3%
7. Inadequate Bleeds............................................ 5.2%
8. No Laser Proofs Supplied.....................................4.6%
9. Missing Graphics ............................................... 4.5%
10. Too Low or High Resolution.................................3.2%


1. Missing Fonts
This means that the customer used a particular type style in preparing a print job, but did not include the digital files for the screen font and printer font in the files sent to he service provider.
When the fonts are not included, the output device generally substitutes an available font, such as Courier, in this place, and the type looks much different than was intended. Font substitution can cause text to reflow.

2. Incorrect Trapping
Trapping refers to the creation of overlaps between adjoining colours to compensate for possible misregisteration. Any unwanted movement of the press sheet during the printing process will cause white space to show where colours should abut. The same result occurs when films are not properly aligned during stripping. A properly trapped job will have overlaps of sufficient width between colours to overcome the average amount of misregister likely to be encountered.
Most designers fail to properly adjust those automatic trap settings in page layout programs for the printing method to be used. As a result, files arrive at the print shop incorrectly trapped (e.g. trap area widths are too thin or too wide, black type is not set to overprint coloured backgrounds, metallic links are set to spread).
It is important to realise that the most serious problems do not occur when items lack trapping, such as adjoining colours which do not overlap. It is the items with incorrect traps (e.g. excessive spreading into backgrounds, white type set to overprint, colour type spreading on a white background, attempts to trap small point sizes) that are actually more problematic for printers. Incorrect traps are quite common, since the automatic trapping functions of page layout software cannot be turned "off" when separations are printed. This forces the printer to spend time examining individual areas which are likely to be incorrectly trapped.

3. Incorrectly Specified Colours (RGB/Spot vs. CMYK)
The third most common problem was colours specified as spot rather than process when the intention was to print only in process colours.
Designers can name special colours e.g. Pantone colours and use them in the design. The page layout software typically gives users the option to separate the special Pantone colour into CMYK process colour plates, or to output it as a separate plate for printing with spot-colour ink. If a user defines a special colour without specifying it as a process separation, the colour will output as an additional plate. The extra colour would then have to be printed on an additional press unit or omitted from the job.

4. Image Scans Made in Wrong Mode
The fourth most common problem occurs when images scanned in RGB mode are not converted to CMYK mode for process colour printing.
Desktop scanners produce image files that consist of red, green and blue information, known as RGB. When output to imagesetters, these files must be converted to CMYK mode first for process colour printing. By default, many RIPs will print unidentifiable colours (such as red, green or blue) on the black plate. If an RGB image is output to film, the imagesetter may set a halftone on only the black separation (see figure); the CMY films will be blank, leading to a black-and-white instead of a full-colour print.

5. Page Settings Not Properly Specified
Page settings for controlling output, including the page size, orientation, media size, margins, polarity (negative or positive), direction (right-reading or wrong-reading) and such are often not set properly for the output device.

6. Graphics Not Linked
The sixth most common problem concerns graphic files (usually stored separately) losing their links with the page layout files.
Image files are generally referenced as independent resources within the PostScript file, linked via PostScript commands to the page layouts, as embedding image files in the page layout document directly would result in huge files.
The problem with the linked graphics is that they may become unlinked if they are saved in a different folder than the one in which the document is saved. Also, modifying a file (as evidenced by a different file modification date and time) will cause the link to be show as "modified".

7. Inadequate Bleeds
If a photo or graphic is to extend to the edge of a page, it must be set up to bleed or overlap the trim margins by a specified amount. The problem occurs when the bleeds are not set up properly or are inadequate.

8. No Laser Proofs Supplied
A full-colour laser proof should accompany the electronic files to the service provider for output to films and subsequent printing. Although color laser proofs are preferred, black-and-white lasers with mark-ups are acceptable.
The hard copy allows the printer to verify the document to be output, flip check to verify the correct positioning of elements and to rule out text reflow problems.

9. Missing Graphics
A more serious problem than unlinked graphics is missing high-resolution graphics. Although the page layout documents do show the graphics in low resolution for placement purposes, the output of these graphics will be pixelized or fuzzy looking.

10. Too Low or High Resolution
Photographs or graphics need to be scanned at a resolution specified for the screen ruling and output device. Image files that are too large consume excessive storage space and take too long to transmit and output. With files that are too small, the images will be fuzzy and pixelized. Resolution depends on the nature of the original and the customer's expectations for sharpness.


1. "Solving Digital File Problems" - A reprint from GATFWorld in SecondSight SS Number 64

[Winsonapm]

Over the last few years and during the development of this Ondemand and short-run digital printing business, I’ve worked with a lot of professional photographers. I’ve also met up aspiring enthusiasts thinking of starting out in photography as a business. Photography is one of those few hobbies that can make some monies. Turning a hobby into a business is like a dream come true for some, a nightmare for others. Like any business start-ups, there are many challenges. 9 failures out of 10 are about the statistics for most business start-ups, I guess it’s about the same for photography.

The realities of business management have changed the mind-sets of many of the photographers whom are in the trade long enough, some learnt the ropes to survive, and some are just simply successful. Passionate in photography and passionate about the business are two different passions; it needs both to be potent. It’s not difficult to see why some don’t make it.

Online forums are interesting ways to learn a trade, free advises on technical and ideas to improve. Every Tom, Dick and Harry is now a wedding photographer. Low entry barriers, eroding pricing, high costs, etc, Unethical practice and sub-standard work will lowered the image of the profession and undermine the market. It would be a real challenge for the professional photographers.

If you have to do it for money, do it professionally, this had always been my advise for aspirants. There’s no excuse that you are fresh or new in the market and that you are doing it on a part-time basis. Photography is a service and your deliverables are memories of moments captured, it can be in softcopy files or on prints. Prints can be standard photographic chemical prints like 4R, 8R, or flushed mount albums. The trend for wedding couples are to have coffee table books, I shall not write more on this trend or elaborate the effort needed to produce them. But quote a thread started by Nick Goh on 23rd June 2006, on “The Art & Design of Producing Professional Wedding Photobooks (Coffee-table) & Albums”. http://www.clubsnap.com/forums/showthread.php?t=204502

It’s an interesting food for thought; my takeaway from reading that old thread is so relevant then as it’s today. Professionalism goes a long way.

[Winsonapm]

“My Photo Books” application

There were some feedbacks on our free download applications, ranging from very good to very bad. For non-graphic trained users, it’s a breeze to pick-up and run it, no training or support required. It cannot be said of other layout applications.

For users of InDesign, Quark or Pagemaker, it’s really unimpressive. It lacks some functions that are essentials in professional design works. But for a quick and simple photo book or calendar layout, nothing beats the ease and speed of “My Photo Books” and “My Photo Calendars” application.

The misconception for some users is to compare it with photo editing tools like Photoshop, etc. Although many used Photoshop to layout and design, it’s not a layout and design tool. Layout pages are in JPEG, TIFF or an image. You can create your “designs” in Photoshop to the sizes of “My Photo Books”, drag and drop your “design” onto single page or 2 pages spread. A 20 pages book can be layout and paginated in 5 minutes, no kidding.

Using professional tools to design a book, there are various considerations.
1) Orientation
2) Size
3) Pagination (running pages)
4) Bleed (3~5mm)
5) Trim marker (cut/trim off)

A graphic trained designer or photographer would have little issue in setting it up and get it done in a few hours or a couple of days depending on the complexities. That’s why some photographers are not keen to sell coffee table books, it’s just too time-consuming. But it’s a nicer way to present the images, and “up-sell” to the same customer, a great value-add to a package. Some photographers are getting more deals because of the quality in the deliverables in coffee table books.

The next question is, at what costs? Production cost is fixed, your time cost is based on productivity. If getting a book done in a couple of hours is very productive and profitable, getting the same book done in a couple of days is extra time cost without extra money.

We’ve professional photographers using “My Photo Books” to layout coffee table books, we’ve consumers using the same tool to design photo books. The differences are vast, amateur vs professional, the images and the moments capture, the layout as a storybook.

All things equal, a DSLR, the photographer. The differentiating factor is in the photo editing skills and design sense.

[Winsonapm]

Premium Paper or Fancy Paper

Since introducing coffee table books to professional photographers about three year ago, we’ve been using high quality satin-matt coated art paper. Today, the same Lumi-Silk stock is also well accepted by the consumers. Acid-free, hi-white, non-glossy, light absorbency with low dot gains, and will last a lifetime or two.

We’ve also introduced the usage of Maple White, a premium paper that’s a lot tougher to print and needs to be treated chemically (a coating process that allows the ink to “sit well” after printing). Most of the professional photographers preferred this stock as it enhanced certain colours like skin tone, greens, reds and the touch and feel is everything. It has higher dot gains, images that are too saturated are not suitable and may backfire.

Introducing “Pearl”, a premium paper that has a certain blue-tint metallic shine. Glistens with light but not sparkle; has a pearl look and feel. It’s great with pastel tones where the pearl-coated base glistens through; black and white never look the same ever. Although the cost is much higher than Maple White, we’re pricing it the same to sell. This could be your competitive factor for your next contract.

Come and visit us for a touch and feel experience on our new offerings. Special discounts for trade partners to make large coffee table book samples/portfolios with 60pp of 2~3 paper mix. You don’t have to carry a few books with different materials for your pitch, just 1 book will be sufficient.

[Winsonapm]

Colour Management System (CMS)

Some of you have asked about CMS over the last couple of years, the answers have not changed and its getting more complicated. 99% don’t really care while the 1% struggle with perfection.

I’ve last chipped in as a vendor in a thread on Digital Dark Room, thought I’ll repeat it here for a slightly more in-depth for prints and offset print productions. Many have questions on this very complex subject. It’s tough to explain this quality issue on CMS for the novices, as it’s a very technical subject. I’m a specialist and a researcher on the subject of colour and I’ve a couple of patents. I’ve written, presented at technical symposium and published White Papers on colour. It’s a very expensive hobby for me.

Misconceptions:
1. imperfect input ~ under or overexposed image, photo editing helps but minimum.
2. good monitor ~ do not make bad image look good.
3. brighten monitor ~ brighter image on your screen only, it do not necessarily means that
it will look good on other monitors or print out well.
4. uncalibrated printer ~ assuming the accuracy and edit the image will only be worst.
5. using an ICC profile ~ only works with calibrated devices.

Viewing a colour involves making comparison from the nature of human vision. Colour comparison is a critical step in colour standardisation process. It is a fact that the human eye cannot measure colours accurately but can compare between colours. Two individuals looking at a single colour will see it differently. These two individuals looking at two different colours will still see each of them differently but they will see the difference between the two colours with about the same degree of accuracy. In a typical case, the nature of the colour is not important. What is important is that the difference between two colours and can be seen as identical by the two individuals. Generally, there are two kinds of methods for measuring or comparing printed colour with a reference colour(or a target): subjective and objective color comparison.

Subjective colour comparison relies mainly on human eye to compare a printed colour with a reference colour visually. A person can tell the difference between two colours qualitatively. The advantage of this comparison is that it provides information on how the colour is perceived which, arguably, is the only thing that really matters. The disadvantage is however that it relies on the option of an observer and may well result in disagreement between observers.

This is currently what most of us are doing, knowing the colour difference but not the knowledge to control or change.

Objective colour comparison always requires the use of a device to measure a colour and compare with its reference. Currently such devices used for measuring the colour for colour standardisation typically include spectrophotometer, colorimeter, densitometer, digital camera and scanner. The advantage of the objective colour comparison is that it can provide reproducible data regarding the difference of two colours. The disadvantage is that the data generated may not always correlate with the way that the human eye perceives colour.

This is what most of us are struggling with. What to buy? How to use?

Or try it out with combination of the 2 theories by using a colour reference target and compare them with your eye. I call it “eye-so-meter”. Which are what most of us are doing anyway, it’s not perfect, but you can tell the difference and the consistency.
1. gather 100 patches of colours comprising highlights, midtones, greys and dark colours
and print them on a A4 paper.
2. capture it under daylight with you camera.
3. view it on your monitor for colour variances.
4. print it on your printer and check the differences.
5. do the necessary adjusment manually and repeat the cycle.

It’s all about color balance, white point and grey (RGB) on monitor, grey (CMY) balance on print.

Colour management is a know-how, it's also a process, only you can manage or control. If you do not get it right in the beginning, it’s usually too late to depend on your vendor to improve on it. It’s more appropriate to say its colour control than colour management. If you are serious about colours and quality, get the necessary equipment and knowledge. It's high costs, needs time, it’s also a know-how learning process and will eventually develop into a skill. Most went thru the ritual with trials and errors. It's an interesting subject, it can be fun and at the same time frustrating. The satisfaction is in knowing that you can control the colours, no guesswork, true WYSIWYG on screen and on print.

There are lots of talks on monitor calibrations, print calibration but few on camera calibration. Remember, “garbage in, garbage out”. Calibration is a mechanical (or software tool) intervention to rectify the graduation of any instrument giving quantitative measurements. It usually reset to factory default or “zeroed”. The only way to balance it is to create an ICC profile to compensate the differences.

ICC profile ~ It is like a fingerprint; it’s the characteristics of a device (input or output), unique and only applicable on the device. There are generic ICC profiles (or standard) like Adobe, Japan, Euroscale, SWOP, etc,. Do remember, data in ICC profile are constant, but the equipment is unstable.
Color Target ~ colour palette to be viewed or printed as above standards (to be measured or compare), a reference to achieve. Or else, you would not have a destination.
Camera and Scanner ~ input devices, RGB profiles only.
Monitor and Printer ~ output devices, can be RGB or CMYK profiles.
Print driver ~ Most print drivers drive RGB files to CMYK printer, its difficult for layman to control CMYK. Low cost consumer devices.
RIP ~ Raster Image Processor, rasterised a RGB file to CMYK to output on a CMYK printer. Professional devices, liked wide format inkjet, Epson, HP and toner for Canon, FX, etc,.
Spectrophotometer ~ an instrument that measures the amount of light of a specific wavelength which passes through a medium. Professional devices used by labs and high end printers.
Colorimeter ~ a much cheaper version passing off as a spectrophotometer, consumer level. Accuracy is questionable.

Printing with ink is measured (with a densitometer) by the thickness of the ink coverage or density; it must be balanced and consistent. Offset and digital printings are very different from photographic prints that are process and measured by the strength of the chemical reaction to/with photographic paper. Consistency is always a challenge whether producing with ink printing or chemical process.

For print with CMYK, whether on your inkjet or commercial print vendors, look at highlights (light areas like 5% to 20%), mid-tone (40% to 60%) and shadows (75% to 95%). It's tough achieving colour balance in these 3 areas, it's tougher printing them consistently.

Most professional photographers have the necessary skill set to shoot and capture and can edit with editing tools like Photoshop. If you are doing it professionally, ensure quality and consistency.

[Winsonapm]

The colour target is about 5MB in A3 pdf. PM me with you email if you would like to have the softcopy of it.

[Winsonapm]

I’ve sent the printer test target to some of you via email, it’s meant for printout check “after calibration” to reconfirm your ICC profile. You can also view it on your monitor and can have a good idea of the white balance visually. You can also use IT8 target.

If you don't have a tool to calibrate your monitor or just don't want to do so, check for color consistency of images used. Details in highlights and shadows would be a good indication of the color saturation.

Use your normal room lighting but avoid reflections or glare from lights or windows.

Set your monitor contrast to its higher settings.

Turn the brightness control all the way up to its lightest setting. Start turning the brightness control down until the black just begins to be true black. When done, you should just barely see a difference between the 95% patch and the 100% patch or the 0% and the 5% patch on the scale bellow. You should see distinct tones in each patch. You would like the 0% to be pure white and the 100% pure black.





Can you see the 5% and 95%?

This is the fastest and easiest way to check your monitor and it's free.